mr8mm wrote:V3 50D for regular 8mm is a great idea but how do we convince Kodak to produce this film stock.
I'm meeting with a Kodak rep next month and I'll ask.
You'd know better than anyone how to work with Kodak for this. I'd suspect it would boil down to a big order.
Good point though... If Roger can get his software to handle negative well and there's a lab that would process negative Regular 8mm, then it would be great for Regular 8mm. I bet Alpha Cine could handle it.
I've done a few experiments transferring un-split regular 8mm on a Spirit and had mixed results. Takes some work in After Effects to actually get all the frames vs. every other one since each frame of the Spirit would contain 4 frames of the 8mm.
I'm pretty sure Spectra processes regular 8. I know Alpha and Spectra handle DS8, so they have the ability to split. Reg 8 should be any different.
I've played with negative on my WP a few times and was able to get an acceptable image by inverting and correcting in my NLE, but was never able to get close to the density and saturation i could get from a high end scanner. The hardest part of DIY is nutralizing the orange mask, so I hope the next version of the software can do a decent invert... Another possibility that would be helpful is using some kind of blue filter on the unit, since it uses a bright LED there should be plenty of light left over to work with.
Considering the comments on this subject regarding processing and transfer, I don't see how negative willl work for R8mm. Most customers have cheap cameras and simply want to try out the camera. Reversal is perfect because the result can be seen with simple means at a minimum cost. If there is a future for R8, the future is black and white. There are ample supplies of black and white that can be used as reversal. BW is easier to process and can be home processed. Without color reversal I am afraid many processing labs will be gone. Neither Yale or Dwayne's is set up to process color negative. I would try to get color neg from Kodak but I don't think I can justify with sufficient sales.---John S.
mr8mm wrote:Considering the comments on this subject regarding processing and transfer, I don't see how negative willl work for R8mm. Most customers have cheap cameras and simply want to try out the camera. Reversal is perfect because the result can be seen with simple means at a minimum cost. If there is a future for R8, the future is black and white. There are ample supplies of black and white that can be used as reversal. BW is easier to process and can be home processed. Without color reversal I am afraid many processing labs will be gone. Neither Yale or Dwayne's is set up to process color negative. I would try to get color neg from Kodak but I don't think I can justify with sufficient sales.---John S.
Maybe as a result of the business paradigm shift that Roger Spoke of as well as Kodak's shift away from color reversal, many of these places will adapt a new paradigm of their own. Also black and white film requires certain filters to make the sky look proper and many of those small d mount lenses use small filters that are hard to find.
Dr. Rima Laibow Warns Globalists Preparing New Bio Attack / Learn the Secret History of COVID
https://banned.video/watch?id=64405470faba4278d462a791
Still want to call me a Nutter?!!!!
To have R8 negative available is as simple as if Kodak offers 2R 16mm Vision3 50D. For example Edward Nowhill can reperforate any stock for R8 from 16 mm film with double perforation.
R8 has an advantage over Super8: It can be processed at a 16 mm lab and turn out to be cheaper and with pro results. With the high quality new stocks, Super8 can now look like 16 mm 30 years ago and people in search of the small format imperfection tend to go to a "smaller" gauge format. Here is where R8 has a future, because if anybody in 2013 wants to emulate old Super8 film, should do it on R8
mr8mm wrote:After speaking with these labs, I think the paradigm shift will be "bye,bye". --J.S.
Then it is time for new labs with a forward vision!
Dr. Rima Laibow Warns Globalists Preparing New Bio Attack / Learn the Secret History of COVID
https://banned.video/watch?id=64405470faba4278d462a791
Still want to call me a Nutter?!!!!
Wow. We posted the Retro-8 scanner a little over two weeks ago and I figured I might get, maybe, 3-5 orders since we had not yet advertised it. As of the end of January, we have received over 40 orders! With this kind of response, I have decided to extend the introductory price for another 30 days. Basically, it gets down to volume. If the volume is too low, then I really lose money at $2495 because there are not enough orders to get any kind of vendor discounts and not enough units to warrant setting up for mass production, so material costs and bench time per unit are too long at that price. But with this many orders, I can afford to set up for a more efficient production line and, as long as I can sustain this volume, my vendors will give me enough of a discount that I can keep the price at $2495.00. So we'll see where this goes and whether I'll need to raise the price later or not. Depends on demand.
Thanks to everyone here that placed an order and/or helped spread the word. This is turning out to be very exciting!
I know I'm probably not quite the target market for this great unit, but how difficult, for an end user, would it be to swap out the internal camera for another? I realise that if one were to swap the camera there would be other stuff one would have to change as well, such as rewriting the software at the very least. However being a software dev as I am, that aspect doesn't concern me so much. I guess the question I'm asking is how "locked in" is the camera to the overall structure of the unit. Another way of putting it is: would it require specialist tools to do a swap?
The only slight improvement I'd like to see which probably really wouldn't make a difference is a full 2K image at 2048x1536 in more of a 4:3 format vs. pillar boxed 1920x1080 just because I like the option of reframing in 16:9 without losing resolution.
But honestly I know you really can't get that much data out of most Super 8 and certainly not regular 8 due to poor lenses and focusing. Anything that keeps costs and even file management easy is probably a better call for this unit.
I'm spoiled by some full 2K scans of some 35mm footage I got recently.
Will2 wrote:Carl, are you thinking that you want a 4K camera?
The only slight improvement I'd like to see which probably really wouldn't make a difference is a full 2K image at 2048x1536 in more of a 4:3 format vs. pillar boxed 1920x1080 just because I like the option of reframing in 16:9 without losing resolution.
But honestly I know you really can't get that much data out of most Super 8 and certainly not regular 8 due to poor lenses and focusing. Anything that keeps costs and even file management easy is probably a better call for this unit.
I'm spoiled by some full 2K scans of some 35mm footage I got recently.
I'm not suggesting Roger change the unit. I'd buy it as is. No problem. The question was more about modding the unit once I had it. As to the purpose, yes, it's the SuperRez project I've been working on ...
Carl
Last edited by carllooper on Tue Feb 05, 2013 9:07 pm, edited 1 time in total.
As long as the camera doesn't produce too much noise I think it will be just fine. Getting away from a video camera setup will be a huge step forward. My biggest concern is will it be able to handle negative in the future since lets face it... aside from triX, the only stocks available now are 3 awsome color negatives, and there's a finite amount of exposed reversal footage that can be handled. In another post we are talking about how there is no plug-in available for video NLE that is designed to handle the orange mask and flipping of a negative, but there is for still film. I'd like to hear more about future software versions that will possibly handle negative film... would it perform a mask neutralizer and basic invert for the capture? Or without a software plug-in is there the possibility of placing a blue gel in the light path?
Tscan wrote: In another post we are talking about how there is no plug-in available for video NLE that is designed to handle the orange mask and flipping of a negative, but there is for still film.
It usually involves identifying the orange cast in what was otherwise unexposed film and setting that as the "white point" in your levels. You then invert the image and do some tweaking. What NLE are you using? Carl
